Product Designer for AI & Digital Products
Packaging looks like graphic design. But every word takes physical space.
For Day 19, I built PACKSHIFT an interactive packaging experience where claims, languages, warnings and data become pressure on a finite surface.
It starts with the real 56 mm width of the carton.
Then you try to make everything fit.
Make the box smaller and the pressure becomes physical:
56 mm → pressure → CRACK → recovery → museum
The final package doesn’t just show the solution — it remembers the negotiation that produced it.
Underneath the public game is a deeper spatial compiler built with Blender + Three.js / React Three Fiber, where the same package can open, decompose, expose its dieline, redistribute information and refold.
Packaging is not a file. It is a compiled surface.
Full case study ↓
https://contra.com/p/3WBccUlM-packshift-packaging-is-a-compiled-surface
Live experience ↓
https://packshift-awd.pages.dev/
GitHub ↓
https://github.com/Faadil1/PACKSHIFT
Would love to know which moment lands most for you: Actual Size, the Hydraulic Press, or the Museum?
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The agent saw the truth. Then I changed the world.
Just published THE WORLD CHANGED, an interactive AI agent lab where you change reality after an agent has observed it, then see whether it notices before it acts.
The core interaction is simple:
LOOK → PULL THE GAP → CHANGE THE WORLD → ACT
From there it expands into multiple worlds, a timed challenge, replayable receipts, checked vs. unchecked outcomes, and a genuine recorded Claude Opus 5.5 run.
I wanted the idea to feel physical rather than technical, so the whole visual system is built from passes, tickets, stamps, paper and print misregistration.
Would love feedback on the interaction and art direction.
🔗 https://contra.com/p/FXvqOAEA-the-world-changed-an-interactive-ai-agent-lab
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DAY 16: CONDITION TRACE
30 Days of Real Business Problems Phase II
I stopped at Day 15.
Not because I ran out of problems.
The format was becoming predictable.
So I changed the rules.
Phase II starts with a problem from museum conservation.
Condition reports can document what was visible at different moments — but they cannot always prove when a physical change actually occurred.
So instead of asking:
“Where did the damage happen?”
I reframed the problem:
Trace when the feature first appears in the documentation.
That became CONDITION TRACE.
The prototype follows a fictional museum-loan case involving the same vessel across four signed condition records.
Earlier examinations were completed under diffuse light.
During the return-arrival inspection, the conservator introduces raking light.
As the grazing angle changes, a hairline crack on the vessel’s upper-right shoulder becomes legible.
That observation is preserved as OBS-04 and carried through a traceable evidence chain:
SRC-03 → OBS-04 → CMP-01 → LIM-01 → FND-01
But the system deliberately refuses to overstate what the evidence proves.
The earlier examinations were not performed under equivalent lighting conditions.
So the conclusion remains narrow:
FIRST DOCUMENTED APPEARANCE AUGUST 3, 2026
Not:
“The damage happened on August 3.”
Not cause.
Not responsibility.
Not liability.
The interface follows the same principle.
Light becomes an examination instrument.
The observation persists through comparison.
The evidence lineage remains visible.
And the final finding must be deliberately sealed.
The goal wasn’t to make an interface that looks forensic.
It was to make the boundary of the evidence visible and traceable.
TRACE THE RECORD. NOT THE BLAME.
Live prototype:
https://day16-condition-trace.vercel.app
Day 16 / 30
Phase II begins.
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Senior Product Designer
I started with this question: Can AI better serve the needs of artists and makers in a meaningful way?
I'm a self-taught embroidery artist, and when i was learning, i would spend days on just planning my design before piercing needle through cloth. Print, trace, transfer, erase, redraw, repeat - my hands were itchinggg to get started, but mistakes at this stage were costly!
This was the spark to build Stitch Studio, an AI-assisted composition tool built entirely in Figma Make with the help of Claude (https://www.linkedin.com/company/claude/) Opus4.6 to help beginners and the like get to making, faster. I tried to automate the tedious parts and let the actual making remain with the artist.
Let me know if you give it a try! 😊
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Framer Expert Marketing Sites & Landing Pages
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